نقد روانکاوانه

The postmodern novels "Divorced Diaries" by Haifa Bitar and "Vanhadeh" by Simon de Beauvoir are the first-person narrators of the daily lives of two divorced women as the protagonists of the mentioned novels. The importance of this research is because the neurotic character of both novels makes it possible to look at the hero of the two novels with a psychotic perspective and to investigate Jeffrey Young's initial inconsistent schemas in their characters with a comparative method. This research is based on descriptive-analytical method. This research aims to have a concrete view of the society of Syria and France and reveal the effective factors in the formation of these schemas in the hero of two novels and scrutinize them with the example of the witness. The research results indicate that the heroines of these two novels are both abandoned by their husbands and suffer from the same primary incompatible schemas. Both protagonists of the novel suffer from various primary maladaptive schemas of dependence/incompetence, defect/shame, and abandonment/instability (abandonment), which, in the order of their origin, depend on/incompetence in them. Relying on the father in doing all the daily tasks, even doing the homework, especially at the teenage age, which is the stage of reaching independence and self-sufficiency. In addition, there is a schema of defect/shame arising from their being rejected by their spouses and their divorce by them, as well as a schema of rejection/instability caused by their shaky relationships.

In this research, the story of "Arab man and his wife" from Mawlawi's Masnavi has been deeply analyzed using the fundamental concepts of Jacques Lacan's psychoanalytic theory. The main goal of this research is to explain the psychological structure of the characters in the story and analyze the complexities of their interpersonal relationships based on Lacan's key concepts such as the imaginary field, the mirror stage, the absence of the symbolic field or the father's name, another small and real object. By using psychoanalytic discourse analysis tool, the hidden and unconscious layers of the story have been revealed and its various meanings and symbols have been interpreted. In this analysis, the role of language in the formation of identity and interpersonal relationships in the structure of personality is especially emphasized. The findings of this research show that the story of an Arab man and his wife, beyond a mystical story, contains complex layers of personality psychology and interpersonal relationships. Using Lacan's key concepts, one can achieve a deeper understanding of the characters' motivations, conflicts, and hidden desires. For example, by analyzing the concept of the mirror stage, it is possible to understand how identity and self-feeling are formed in the character of Arab women. Also, by examining the concept of the father's name, we can understand the role of authority and law in the interpersonal relationships of this couple.

In today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem Khosrow va Shirin and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and Khosrow va Shirin. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in love-based relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period.

Psychoanalysis is generally applied in exploring and analyzing of the mind’s functionality and psychological problems among people. The founder of psychoanalysis, Sigmund Freud, had a significant role in promoting literary studies. Among the theories of psychoanalysis, the category of love is one of the issues that have attracted researchers in the field of anthropology, especially psychologists, as an explanatory and fundamental subject in human life. In 1986, Robert Sternberg presented his first theory about love in "A Triangular Theory of Love" theory, in 1994; he re-evaluated the love triangle theory and developed the "love story" or "love as a story" theory.
The central element in Nezami’s narratives is the issue of love and its governing relationships. Two of his works, Leili va Majnoon and Khosrow va Shirin, have aspects of relationships that, above all, can be proposed and assessed in a comparative reading as a proper subject for this type of psychoanalytical analysis. Love is the principal theme in Nezami narratives. In his two significant narratives, his focus is on the clear border between love and lust. The objective here is to assess these two areas concerning the cognitive psychoanalysis of the contemporary period by relying on the data of psychoanalytical knowledge.

Method and Materials:

This research compares the type of love in the two narratives Khosrow va Shirin and Leili va Majnoon through the descriptive-analytical method.

According to the textual implications, passion is evident in all the stories as the most prominent component in the course of the characters’ affection. This component is more apparent in Khosrow va Shirin, especially in the course of Khosrow's love, followed by more elements of intimacy and commitment. The results indicate that Khosrow's love for Shirin was initially the type of love that only consists of passion, and there is no mention of the other two components. By enriching intimacy, Khosrow is placed in romantic love. Khosrow's love for Shirin is foolish, where experiences absurd love when dealing with Maryam; accordingly, in Shirin's personality, more than any other component, is at the first level, followed by intimacy and passion. Because the passion in Shirin evolves quickly next to intimacy and commitment, it can be deduced that love in Shirin, according to Sternberg's views, is the ideal and perfect love, while, the most explicit component of Farhad is his commitment, which appears to be mixed with elements related to intimacy and passion, thus, Farhad's love can be classified as ideal love. The findings here reveal that the frequency of love in the Khosrow va Shirin narrative is romantic love, complete love, foolish love, and empty love, respectively.

The tragic side of the narratives appears when the characters in whom the three elements of love have reached perfection and have experienced ideal love, though love turns out to be a failed experience. At the same time, Khosrow's character, according to Sternberg’s analytical principles, is devoid of the element of commitment and, based on the narrative, is the winning hero of the story. Leili va Majnoon is identified based on commitment, which is a two-way and mutual issue. Although Leili agrees to a forced marriage with Ibn Salam, a traditional marriage, according to the propositions of the text discussed earlier, she committedly insists on the love of Majnoon. Other elements of love are manifested in her existence to the extent of perfection. Because love in Leili and Majnoon is at the ideal love level, the bound between love and lust in Nezami’s narratives is somewhat bolder.
Another determining factor is the element of commitment that is from the perspective of cognitive psychology; a relationship that lacks commitment is practically empty of its perfection and can be defined within the boundaries of lust. Nezami names a story of love as “lustful”. From a cognitive point of view, if the type of love between the two sides is of the ideal love, based on the existential centrality of commitment, love is in its complete form.

The story Hana, in the anthology "Weather for Several Days of the Year" by Aiin Nowruzi, probes into the recounting of a man's separation from his beloved, Darya. Yet, intriguingly, the narrative often veers towards the man's niece, Hana, born around the time of his parting with Darya. Through subtle cues in the text, it becomes apparent that the narrator's feelings, actions, and words carry deeper, symbolic connotations. The author intricately weaves details, seemingly diverting attention from the central theme, perhaps to conceal its true essence. The aim here is to decode and interpret the concealed meanings while striving for coherence within the narrative. Employing a Freudian psychoanalytic lens, the text is explored akin to a dream, where an underlying, more significant level remains obscured beneath the surface. Adopting an inductive research approach, the analysis unravels the symbols and signs embedded within the text, which serve as manifestations of the narrator's subconscious. These symbols, while holding inherent meanings, are suppressed expressions of truths concealed by the narrator, from both himself and the audience. Central questions arise: What causes the ambiguity and contradictions in the narrator's discourse and actions? What roles do the symbols play in the narrative, and can they be organized into a meaningful structure? By dissecting the components of the text and its supporting evidence, it becomes evident that the narrator channels the sorrow of separation from Darya, his longing to reunite, and his desire for offspring through mechanisms like displacement and integration, manifested as symbols such as darkness, underground spaces, numbers, and unconventional behavior and speech. Hana operates on two levels: the surface events recounted by the narrator and the deeper layer of inferred ambiguities and contradictions. To address this dissonance, it is proposed that the narrator not only conceals truths from the audience but also from himself. Through the lens of Freudian psychoanalysis, the story is revisited and interpreted, ultimately revealing that Darya is veiled behind the narrative. The entirety of the tale, supported by textual evidence, emerges as a dream experienced by the narrator upon waking, showcasing elements of displacement and integration. Darya's presence permeates the narrative, subtly observed despite her name remaining unspoken.

Literature is one of the most original manifestations and the arena of emergence of unconscious and deep layers of the human psyche. "Mask" in application is a concept of Jung's psychological terms, which from Jung's point of view is actually that which is not a person; It is a representation of a personality that is not the same and equal to the person's real self. Saadi's works, as a part of literary masterpieces, are rooted in ancient beliefs and ideas and have benefited from the collective unconscious. The purpose of this essay is to show that Saadi's works include a wide range of archetypal concepts and archetypes from the perspective of archetypal criticism. In this research, among the various archetypes, we will examine the veil archetype in Saadi's works.

The research method in this article will be descriptive-analytical based on library studies and psychoanalytical criticism based on the archetypal ideas of Carl Gustav Jung.

By using myths, symbols and archetypes, Saadi's works have a great ability to reflect the deep unconscious layers of the human psyche. Much earlier than psychologists such as Jung, Saadi has paid attention to archetypes such as the mask in his poems and writings, with the knowledge of the human psyche and subconscious mind.

By using myths, symbols and archetypes, Saadi's works have a great ability to reflect the deep unconscious layers of the human psyche. Much earlier than psychologists such as Jung, Saadi has paid attention to archetypes such as the mask in his poems and writings, with the knowledge of the human psyche and subconscious mind.

Based on the results of this research, in Saadi's teachings, in line with Jung's analytical psychology and the collective unconscious, the archetype of the mask can be seen in two positive and negative dimensions in Golestan and Bostan. The basis of Saadi's teachings is that the way to perfection lies in true asceticism, piety, avoiding hypocrisy, arrogance, boasting, and observing moral standards. Saadi's type of education can be seen based on the archetype of the niqab in the positive aspect, especially idealism and expediency, and the negative dimension of the niqab can be expressed in the distance from arrogance, pride, hypocrisy, etc.

In “The Pear Tree” from the collection Elsewhere (2000), Goli Targhi presents a first-person narrative about a writer and university professor who struggles to overcome scientific stagnation, face the past, and reassess his achievements and losses. In the background of these struggles, there is the Damavand garden and the pear tree which symbolize the flourishing and static contradiction within the narrator-character. The present article reads the narrative in terms of Eric Erikson’s psychosocial theory to analyze its crises of character development. The significance of this study is in explaining the roots of the narrator’s motivations and feelings which can lead to a better understanding of the complexity of the role of social and psychological concerns in overcoming his personality crises. Since the narrator is in his late sixties, the range that can be considered as the end of middle age and the beginning of the period after it, the 7th and 8th stages of Erikson’s development are used in the analysis of his personality. These stages are characterized by the binaries of “generativity vs. stagnation” and “ego integrity vs. despair” and can lead to the acquisition of the moral virtues of “care” and “wisdom.” This study concludes that while the narrator-character succeeds in passing through the 7th stage and acquiring the virtue of care, he is somewhat unsuccessful in the struggle for the acquisition of ego integrity and wisdom, although at the end of the story he evidently tries to achieve them. Extended Abstract1.IntroductionPsychological mechanisms, such as projection, association and stream of consciousness, play an important role in Goli Taraghi’s “The Pear Tree,” which revolves around the emotions and motivations of the protagonist. The present study draws on Erik Erikson’s psychosocial theory to analyze the middle-age concerns of the protagonist from a psychoanalytical point of view in order to arrive at a better understanding of the protagonist. 2.Theoretical FrameworkErik Erikson’s psychosocial theory has been adopted as the theoretical framework of the present study. The focus of the study is on the 7th and 8th characteristics of Erikson theory of development, which cover middle age and later. This period is characterized by “generativity vs. stagnation” and “integrity vs. despair.” 3.MethodologyIn the present article, Erik Erikson’s psychosocial theory has been used to analyze the concerns connected with a specific period of the protagonist of Goli Taraghi’s “The Pear Tree.” The characteristics of the 7th and 8th stages of Erikson’s theory have been focused on in the study of this text.  4.Discussion and AnalysisThe pear tree symbolizes ‘generativity vs. stagnation’. Numerous references to this tree make the narrator remember his sterility. Throughout the story, the protagonist struggles in his mind with his sterility and middle-age crisis, with the outside world being symbolized through the garden. He finds himself destined to fight the stagnation and achieve generativity through writing, which in a way makes him isolated in the story. He shows signs of the emotional crisis associated with the end of the middle age, which according to Erikson is the 7th stage of development. His inability to write can symbolize crises associated with the 7th and 8th stages of development. 5.Conclusion“The Pear Tree” is packed with descriptions of the psychosocial condition of the protagonist. The protagonist experience two crises throughout the story. The first half of the story mostly deals with ‘generativity vs. stagnation’, while the second part revolves around ‘integrity vs. despair’. The protagonist successfully overcomes the ‘generativity vs. stagnation’. The virtue of ‘wisdom’ can be gained for him after encountering the ‘integrity vs. despair’ binary opposition. Select BibliographyErikson, E. H. 1968. Identity: Youth and Crisis. New York and London: W. W. Norton and Company.Erikson, E. H. 1977. Childhood and Society. London: Paladin Books.Fani, K. and Dehbashi, A. 1380 [2001]. “Naqd-e Adabi: Goftegou ba Goli-e Taraghi.” Bokhara 19: 30-54.Hammak, Ph. 2015. “Theoretical Foundations of Identity.” In: McLean K. C. and M. Syed (eds.). The Oxford Handbook of Identity Development. Oxford: Oxford University Press. pp. 11-30.Lachman, M. E. and Bertrand, R. M. 2001. “Personality and the Self in Midlife.” In: Lachman, M. E. (ed.). Handbook of Midlife Development. New York: John Wiley and Sons. pp. 279-309.Lachman, M. E. and James, J. B. 1997. “Charting the Course of Midlife Development: An Overview.” In: M. E. Lachman and J. B. James (eds.). Multiple Paths of Midlife Development. Chicago and London: University of Chicago Press. pp. 1-17.Taraghi, G. 1379 [2000]. Jayi Digar. Tehran: Niloufar.

Psychoanalysis can be an approach for better understanding of literary works. In this approach, topics such as the conscious, the sub/preconscious, and the unconscious are of great importance,because literary works are important manifestations of the unconscious, including the suppressed desires or repression that have come to pass over to ego and take place there as time passes.The artist who is the poet here, sublimating his desires by using artistic tricks and figures of speech, and is trying to represent them in his/her literary works in a way that even the reader will experience the same pleasure, and that is why all works of art, especially literary works, are a very good platform for psychoanalytic criticism. In this descriptive analytical study, a brief description of the five categories of psychoanalysis, namely masochism, sadism, voyeurism, homosexuality and fetishism is assumed, and then their implicit and explicit applications in Saadi’s sonnets is extracted and classified. It is concluded that, first of all, Saadi was represented them in his sonnets with relatively high frequencies and second of all by using poetic artistry and rhetorical tricks he has tried to recite and sublimate them in the best possible way. So sublimating can be named as one of the important factors in creating pleasure by reading Saadi’s poems.

We achieve pure contents and elements by a deep attitude and survey among contemporary Persian literature novels which they contain a wide spectrum of various relationships and occasions due to having unique fiction components. Among them, the novel "Heart of Steel" by Moniro Ravanipour includes unique features in order to be analyzed based on the theorists' viewpoint due to having faminism and social occasions and to undermine the women's hidden layers of mind psychologically. Hence, we decided to survey and analyze the proud myth personality in the novel "Heart of Steel" as the main personality of the novel based on Yung's psychoanalytic criticism in the present research, in order to comprehend what arrangements Ravanipour has utilized in her word structure and in processing the fiction personality and how much her word has been able to achieve the absolute individuality by utilizing conscious and unconscious elements and also unique symbols such as: dictator, horseman, Orange tree, the doll old woman and old daughters, and etc., to create unity among multiple dimensions of personality so that it can be surveyed and criticized based on Freud's psychoanalytic viewpoint.

In his work “sharh-e- parishani”, VahshiyeBafghi explains his amorous relationship with his beloved. According to Freud’s Unconsciousness Theory, the poet ‘unconsciously’ elicits words and sentences unwittingly from his own ‘subconscious’ or ‘Id’ which reveals both his ‘Id’ and ‘inner self’ to us. However, the poet tries to control his ‘subconscious’ completely and conceal the reality of his ‘inner self’. Based on Freud assertion, this way he sends his desires to his ‘unconscious’ and pays the price of his being civilized. Following this track, the poet sometimes justifies his slip tongues through alluding to an old and sacred story. Vahshi’s efforts i.e. the conflict between ‘consciousness’ and ‘subconsciousness’ has led to an internal conflict in his poem which continues up to the end of the poem, and the poet is not able to release himself from this conflict and cannot come to an absolute conclusion. That is why he pours out his heart to the beloved in order to soften his heart and come to terms with him.

Fictional characters are repetitions of real characters and based on the characterizations of the novelist, the story information more documentary than information that people show up. Special needs of the characters create instability, and humans in a particular environment embody many of their own rules and inner angles. Stories have also become the subjective reflections of particular human lives, so they can be based on psychology theories of all fictional characters and human characters in particular. One of these theories is the humanist psychologist Abraham Maslow. The hierarchical needs of the Maslow encompasses his ideas and can be based on the theory of human beings and explain with it. Candide is the most famous novel of Voltaire that can be analysed by the theory of Abraham Maslow. Based on the results of this study, we can see that in all the characters, including candid, Cunégonde    Pangloss, Old Lady, Martin and Cacambo; overcome psychological needs and then belongingness and love needs. Because of the problems and corruption of the Voltaire time society the most characters around candide were initially not qualified to cultivate their hidden talents to flourish; so the heroes of this novel are often introverted, isolated, psychotic and defeated. They spent a lot of time and have worked hard to achieve their full potentials and self-actualization.

Psychoanalytic criticism is a kind of literary criticisms that has been in practice for a century. In this kind of criticism, the literary work is criticized and analyzed from a psychological perspective. One of the works that has the capacity to being criticized in the scope of psychology is the “Orazat-al- khosoum” play written by “Ali oghleOrsan”. It is considered to be about the problems in an Arab society. The character of “Omme-salim” represents a plenty of actions and reactions that originated from her subconscious. The paper aims to study which of the three personality elements (i.e. ego, superego or id) makes Omme-saleem show such behavior. The analysis of her character is based upon the subconscious theory of Freud. Omme-salim is the main character of the play who takes action according to her superego’s wants. Her superego has entered an irrational phase to achieve her objectives, and this causes a conflict between her ego and superego. This conflict ends in overcoming her superego. In fact, Omme-saleem is the symbol of superego in the play. She also resorts to the defensive mechanism of regression in two situations to be released from mental pressure and anxiety.

Jacques Lacan linked postmodern psychoanalysis with linguistics and proposed an unconscious language theory. He introduced and analyzed the stages of “subject” development through language and “other” and “little other” based on the “imaging order”, a“mirror” stage, the symbol or name of “father” and “the real”. In this process, poetry and art are replaced by a “sense of lack”. Rita Odeh is a poetess who reconstitutes her identity in relation to “other” and, by transition from this stage, she imposes her identity on all the possibilities. The unconscious language of the subject is a kind of the Other that takes the symbolic order (social and cultural rules) beyond himself. According to Lacan, Other creates fluid and splits identity through the unconscious, desire and lack. That is represented in the poetry of Rita. This article studies some of Rita’s poems in a descriptive and analytical way. The poetess lives in the Middle East, Palestine; hence her poems are fraught with such issues as identity challenges, split, integrity, hopelessness and identity reconstruction. The entire process is associated directly with other. For this reason, based on the theories of Jacques Lacan, one can feel the way the subject and the other and the sense of lack are created in her poems.

Psychological genre is a domain at which popular literature and elitist literature join together, and thereby creating some works that are considered attractive to both types of readers. This genre, in both scientific aspect and artistic narrative style, gains benefit from breakthroughs in psychology and its various branches especially psychoanalysis. In this method of storytelling, in order to represent life and human identity, the author directly takes human mind and soul into account. Psychology makes the author pass through human's subconciousness so that he can express sources of personality and social disorders and anomalies using his mental reflections and imagination. Sepideh Shamloo is one of the successful contemporary authors whose specialty is in writing psychology genre. To analyze her critical thinking especially regarding women's issue, Shamloo applies psychology. The present research study investigates psychological genre and novel in her works. The results show that in addition to applying such knowledge in her storytelling and its narrative elements, especially characterization, Shamloo has particularly and noticeably included names, techniques, terms, and information of this knowledge into the plot of her stories.

Modern human’s effort is to achieve and manifest his desires and pleasure pushes him into an inner conflict. Social norms and regulations play a deterrent role in the achievement of pleasure, but, at times, the mirth-making id becomes so recalcitrant that tears loose of everything. Ebrahim’s Anxiety is the clash of two psychological structures of id and superego. The purpose of the story is embody the cultural autopsy of society, in order to show an image of the invisible aspects of reality to the reader. In modern novels, the inner reality is prior to the outer reality, therefore, Ebrahim’s Anxiety starts off with the inner conflict of the story’s protagonist and the expression of Shahryar Ebrahim’s fears and concerns. In this novel, Mirsadeghi portrays the desires and demands of the contemporary man in the turmoil between two revolutions. Freud’s view of human’s psychological structure is explored before reviewing and analyzing the novel. The main issues are discussed include scrutinizing the reflection of reality in the mind of the protagonist, his individualism, his isolationism and the analysis of his character relying on Freud’s theoretical framework. In this research, the protagonist’s character is analyzed based on Freudian views. There is no research like this in the works of Mirsadeghi.

This study poses a literary-psychoanalytic theory based on the Freud's opinions. In short, the basis of this theory is based on the answering of this question that whether by a psychoanalytic criticism of Siavash's Story it would be a link between the events in the middle of the story by changing the moral precepts of the Iranian people? With this approach, a modern literary- psychoanalytic theory in line with the above question is raised: Siavash is the victim of a moral transition of Iranian people from the Instinct - based Provisions of the King. A theory that its producers benefit from the psychoanalytic Criticism of Siavash's story as a tool to prove it. Based on this theory, events like Siavash's life and death challenge some parts of beliefs that were embedded in the mind and conscience of the people. The most important of these embedded beliefs in conscience was that King's verdict at any time and order is moral and it was because the provisions of conscience on that time were influenced by royal provisions more than anything, a topic which is challenged during the story of Siavash and prepares a condition of crossing from the king's conscience of Iranian people to the post-royal conscience of Iranian people.

The River’s End story is among those stories which have a dream-like structure. In this article we have tried to analyze this story and its method of meaning making by a psychoanalytical reading based on Freud’s ideas. This reading includes two layers: 1- The overt or surface structure of the story. 2- The covert or deep structure of the story. In the overt layer it would be demonstrated that the story has a conceptual structure and its occurrences are narrated in a disorganized plot in which the causality and time sequence are not kept. In the covert layer we have distinguished between metaphoric and deleted plot. In the metaphorical plot, the symbols of the narrative text of the River’s End has been detected and two symbols of Zayandeh-Rood river and Gavkhuni River’s End as two prevalent symbols which show the female sex and the return to the fetus are analyzed. Many of the characters based on their relationship to these two symbols are psychoanalyzed. In the deleted plot the relationship between the narrator with the pleasure principle and death principle are analyzed until the unending suspension of the narrator in the process of fate, repetition, and movement toward death is defined.

Sadegh Hedayat, as a pioneer writer of Iranian contemporary novel, has always used psychological motifs in his works. His "Boof-e Koor"[The Blind Owl], out of his other works, is much more influenced by psychological motifs and can be regarded as a psychological novel. What seems important being analyzed in this story is the approach of narrator and his contradictions toward Sadegh Hedayat, himself.The narrator, as the story’s main axis, is the one whose mind structure should be carefully recognized to judge about his manner of narration. Since the narrator’s mind has many contradictions and incompatibilities, his character structure seems being constructed out of various taboos orienting his mind.In this study we try to psychoanalyze the narrator’s character, his spiritual taboos and the reasons of their formation to understand why the narrator's character has been formed in this way. Woman seems being the most principle social and psychological taboo of the story. The narrator’s special psychological structure in various stages of his mental development reflects three female characters throughout the story.